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Fi n ish Lin e Apply a coat of followed by more shellac. Brush on a coat of boiled linseed all to add depth. Next, brush on three more coats of shellac, then use cheesecloth to wipe on a final coat (right). 011 (continued) Because shellac dries fast, you can add several coats in succes- sion. Once the brush starts to drag on d1e tacky surface, let the piece rest for several hours. Afterward, you either can brush on more shellac or, if the finish has built enough, proceed to smood1 the flat surfaces with 400-grit sandpaper and the intricate areas with 0000 steel wool. Remove any steel-wool particles with a brush or compressed air. The last layer is a 2-lb. cut of shellac applied wid1 a folded piece of cheeseclod1. This reseals any wood d1at might have been sanded bare and leaves a smoodl coat. Two centuries in two steps To complete the aging process, you must re-create the buildup of grime and wax that collects in corners and carved areas over time. The first step is to combine burnt-umber pigment and a slowdrying oil-based finish to form a glaze. Dip an old brush into d1e finish, then, on an artist's palette or board, gradually work in some pigment to form a d1in paste. Apply the glaze generously, making sure to work it into all of d1e nooks and crannies. When the glaze has developed a little tack and has begun to lose its wet look, remove it with clean rags. Resist d1e urge to wipe too thoroughly, as d1is will ruin the effect. In panicular, leave a residue in any cavities, such as the grooves of carvings, and in any corners. Allow the glaze to dry overnight and d1en reinforce the aging process with a coat of wax. A shopmade glaze. Mixing burntumber pigment with an oil-based finish creates a s/ow-drylng glaze. A,r ply the glaze liberally, making sure to penetrate all of the recesses. furniture paste wax with a litde asphaltum, which is similar in color and consistency to roofing tar. On intricate surfaces, apply a light coat of wax wid1 a dedicated paintbrush, using an upand-down motion to drive the wax into every corner. When the whole piece is coated, buff the surfaces with clean rags, working the frequently touched areas the most and leaving the recesses barely polished. The dark wax adds a final touch to the aging process. I surface at first, but let it sit overnight, and by the next day the dye will have penetrated the wood. This deep-brown dye mimics the rich tones found on many antiques. To bring out the wood's depth, brush on a coat of boiJed linseed oil, diluted by one third with turpentine or mineral spirits to aid penetration. Museums have stopped using linseed oil on period pieces because it darkens the wood over time, but this is precisely the effect I am seeking. Before d1e oil gets tacky, wipe it down d10roughly with clean rags until the wood feels smooth to d1e touch. Build the layers of shellac Ideally, you should let the piece cure overnight before brushing on orange shellac. I use a fairly heavy 2\-2-lb. or 3-lb. cut on chairs, but on a piece with larger surfaces I might go with a lighter cut that will flow out better. Use tl1e same I-in. artist's brush. Avoid heavy runs, but don't skimp. The object is to build the finish, fill some of the pores, and leave some residue in the cram1i.es and carved areas. 122 FINE WOODWORKING 0 Grime of the century. Paste wax combined with asphaltum Is forced Into the corners and recesses to imitate the buildup of dirt and finish over 200 years. Buff the wax with a clean cloth, concentrating on the areas most likely to be touched. combine a good-quality